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Funerary stela of a Batavian member of the Corporis Custodes (imperial bodyguard) of Nero, from Museo Nazionale Romano - Terme di Diocleziano. The inscription (AE 1952, 0148) says:
Indus, bodyguard of Nero Claudius Caesar Augustus, twelfth group, Batavian nation, lived 36 years. His brother and heir Eumenes, from the collegium of the Germans, dedicated.
Photo taken by Salvatore Falco, June 2005, Rome
cc wiki
Claudius. AD 41-54. AV Aureus (19mm, 7.66 g, 1h). Rome mint. Struck AD 44/5. Laureate head right / IMPER RECEPT, Claudius seated left, holding scepter; to left, signum; all within distyle building with crescent in pediment and flanked by crenelated walls with arched entries; all set on crenelated wall with two arched entries. RIC I 25; von Kaenel Type 22 (V332/R339; an unlisted die combination); Calicó 361a.
According to the historian Suetonius (Claud. 10.1-4), the Praetorian Guard appointed Claudius emperor following the assassination of his nephew and predecessor Gaius. Found cowering behind a palace curtain, the new emperor was immediately removed to the Praetorian camp which had been constructed almost fifteen years earlier under Sejanus, and located at the northeastern outskirts of the capital. For the next several days, Claudius remained under the Guard’s “protection”, while diplomatic maneuvers secured senatorial acceptance of his succession. Because of the Guard’s strategic involvement in these events, Claudius rewarded them with an donative, renewed annually for the next several years, ostensibly commemorating their protection of him during the first days of his reign, but, in fact, acknowledging their central role in his accession.
Nero Æ Sestertius. Struck circa 67 AD. IMP NERO CLAVD CAESAR AVG GERM P M TR P XIII P P, laureate head right / S C across field, ROMA in exergue, Roma seated left on cuirass, holding long scepter & resting left arm on shield. Cohen 284.
If you are interested in Julio Claudian Iconography and portrait study you may enjoy these two links:
Julio Claudian Iconographic Association- Joe Geranio- Administrator at groups.yahoo.com/group/julioclaudian/
The Portraiture of Caligula- Joe Geranio- Administrator- at
Both are non-profit sites and for educational use only.
Janos Pentelei Molinar 'The Potato Harvest', The Grohmann Museum, 'Man at Work' collection, Milwaukee, Wisconsin
A Roman Woman.
Marble. 30—50 A.D.
Height 39 cm.
Inv. No. 751.
Copenhagen, New Carlsberg Glyptotek.
educational use only
Arthur Johann Severin Nikutowski 'At the Fair', 1982, The Grohmann Museum, 'Man at Work' collection, Milwaukee, Wisconsin
Portrait of the emperor Octavian August.
Marble. First quarter of the 1st century.
Inv. No. A 284.
Saint-Petersburg, The State Hermitage Museum.
educational use only
Bust of Tiberius.
Marble. Copy from the beginning of the 1st century A.D. after original from 20—12 B.C.
Height 47 cm.
Inv. No. 1445.
Copenhagen, New Carlsberg Glyptotek.
educational use only
English: Ny Carlsberg Glyptothek, Copenhagen. Bust of Roman emperor Vitellius ( 69 A.C.)
Deutsch: Ny Carlsberg Glyptothek, Kopenhagen. Büste des römischen Kaisers Vitellius ( 69 A.C.)
Date 26 July 2008(2008-07-26)
Source Own work
Author Wolfgang Sauber
www.mart.trento.it/antonellodamessina
Il Mart di Rovereto propone un’indagine articolata e uno sguardo originale sulla figura del grande pittore del Quattrocento e sul suo tempo, attraverso lo studio degli intrecci storico-artistici e delle controversie ancora aperte, presentati in questa sede come punti di forza attraverso i quali approfondire nuovi percorsi di interpretazione critica.
Il progetto espositivo, a cura di Ferdinando Bologna e Federico De Melis, ha l’ambizione di ricostruire l’ampia scena storica e geografica dalla quale emerge l’eccezionale individualità di Antonello: un pittore che, a metà del Quattrocento, si fa interprete di un fermento creativo mediterraneo ed europeo incentrato sull’incontro-scontro tra la civiltà fiamminga e quella italiana.
Photo by Fernando Guerra
Title for images of Armenia and Nero
Description: False 'base' in relief with simple moulding above, and a central mask in relief (W. 1.28-W. 1.53 × H. 0.42 × D. 0.78)
Text: Inscribed on the face, a to the left, b to the right of central mask
Letters: 1st century A.D.; a: 0.045; b: l.1, 0.045; ll 2-3, 0.04-0.05; ll. 5-6, 0.03-0.035.
Date: 1st century A.D. (lettering, context)
Findspot: Sebasteion: E. Seb. 80/1, II B, at -3.2
Original Location: Sebasteion
Last recorded location: Museum (1980)
History of discovery: Recorded by the NYU expedition in 1980 (80.168)
Bibliography: Published by Reynolds, ZPE 43 (1981), 317-27, no. 10, whence SEG 31 1981.920, BullEp 1982.356; mentioned SEG 35.1082; published by Smith, JRS 77 (1987), 55, no. 7, whence McCabe PHI Aphrodisias 919 .
Text constituted from: Transcription (Reynolds). This edition Reynolds (1981).
Edition Diplomatic Epidoc (XML) [Conventions] [Font help] 1 Ἀρμενία
1 [[Νέρων{ι}]]
2 Κλαύδιος
3 Δροῦσος
4 Καῖσαρ Σεβ-
5αστὸς Γε-
6ρμανικός stop 1ΑΡΜΕΝΙΑ
1 [[ΝΕΡΩΝΙ]]
2ΚΛΑΥΔΙΟΣ
3ΔΡΟΥΣΟΣ
4ΚΑΙΣΑΡΣΕΒ
5ΑΣΤΟΣΓΕ
6ΡΜΑΝΙΚΟΣ stop
Ἀρμενία
Νέρων
ι
Κλαύδιος
Δροῦσος
Καῖσαρ
Σεβ
αστὸς
Γε
ρμανικός
Apparatus
b. 1, Nero's name was apparently incorrectly cut, in the dative; it was later erased but remains legible.
Translation:
a: Armenia.
b: Nero Claudius Drusus, Caesar Augustus Germanicus.
Commentary:
One of the false bases supporting imperial reliefs in the Sebasteion. See Reynolds loc. cit., and R.R.R. Smith, The imperial reliefs from the Sebasteion at Aphrodisias, Journal of Roman Studies 77 (1987) 88-138
educational use only
Jean-Matthias Schiff 'Stonemason at Rest', The Grohmann Museum, 'Man at Work' collection, Milwaukee, Wisconsin
Augustus. 27 BC-AD 14. AR Cistophorus (25mm, 11.69 g, 1h). Ephesus mint. Struck 25-20 BC. Bare head right / Capricorn right, head reverted, holding cornucopia; all within laurel wreath. RIC I 480; Sutherland Group VI; RPC I 2213; RSC 16.
SYRIA, Coele-Syria. Chalcis ad Libanum. Mark Antony, with Cleopatra VII. 32-31 BC. Æ 21mm (7.23 g, 12h). Dated RY 21 (Egyptian) and 6 (Phoenician) of Cleopatra (32/1 BC). Draped bust of Cleopatra right, wearing stephane / Bare head of Mark Antony right; dates in legend. RPC 4771; Rouvier 440 (Berytus); SNG München 1006; SNG Copenhagen 383 (Phoenicia).
Constantin-Emile Meunier 'The Old Miner', The Grohmann Museum roof top sculptures, 'Man at Work' collection, Milwaukee, Wisconsin
www.mart.trento.it/antonellodamessina
Il Mart di Rovereto propone un’indagine articolata e uno sguardo originale sulla figura del grande pittore del Quattrocento e sul suo tempo, attraverso lo studio degli intrecci storico-artistici e delle controversie ancora aperte, presentati in questa sede come punti di forza attraverso i quali approfondire nuovi percorsi di interpretazione critica.
Il progetto espositivo, a cura di Ferdinando Bologna e Federico De Melis, ha l’ambizione di ricostruire l’ampia scena storica e geografica dalla quale emerge l’eccezionale individualità di Antonello: un pittore che, a metà del Quattrocento, si fa interprete di un fermento creativo mediterraneo ed europeo incentrato sull’incontro-scontro tra la civiltà fiamminga e quella italiana.
Photo by Fernando Guerra
www.mart.trento.it/antonellodamessina
Il Mart di Rovereto propone un’indagine articolata e uno sguardo originale sulla figura del grande pittore del Quattrocento e sul suo tempo, attraverso lo studio degli intrecci storico-artistici e delle controversie ancora aperte, presentati in questa sede come punti di forza attraverso i quali approfondire nuovi percorsi di interpretazione critica.
Il progetto espositivo, a cura di Ferdinando Bologna e Federico De Melis, ha l’ambizione di ricostruire l’ampia scena storica e geografica dalla quale emerge l’eccezionale individualità di Antonello: un pittore che, a metà del Quattrocento, si fa interprete di un fermento creativo mediterraneo ed europeo incentrato sull’incontro-scontro tra la civiltà fiamminga e quella italiana.
Photo by Fernando Guerra
A ROMAN RIBBED GLASS BOWL
CIRCA LATE 1ST CENTURY B.C.- EARLY 1ST CENTURY A.D.
Amber in color, the broad bowl sagged, with numerous short vertical ribs on the shoulders below the flaring rim, with a wheel cut groove on the interior below the rim, on a slightly concave base
4 7/8 in. (12.3 cm.) diameter
educational use only
A ROMAN GLASS BOTTLE
SYRO-PALESTINIAN, CIRCA MID 1ST CENTURY A.D.
Mold-blown, opaque blue in color, the hexagonal body with rectangular panels on each side framed by columns topped by triangular pediments, each panel with a different bird perched on a rock or nest, the convex base with twenty-six upturned tongues, the flat base with a seam, with a convex shoulder, a long cylindrical neck and a folded flaring rim
3 in. (7.6 cm.) high
educational use only
SPAIN, Caesaraugusta. Augustus. 27 BC-AD 14. Æ As (29mm, 15.27 g). L. Cassius and C. Valerius Fene., duoviri. Laureate head left / Priest plowing left with yoke of two oxen. RPC I 309; SNG Copenhagen 543.
If you are interested in Julio Claudian Iconography and portrait study you may enjoy these two links:
Julio Claudian Iconographic Association- Joe Geranio- Administrator at groups.yahoo.com/group/julioclaudian/
The Portraiture of Caligula- Joe Geranio- Administrator- at
Both are non-profit sites and for educational use only.
ROMAN BRONZE MITHRAS
Wearing a tall peaked cap with lappets, an oriental-styled short tunic, a long himation, and leggings; holding a patera.
Exhibited: Picker Art Gallery, Colgate University, 1987-1996; Ball State University Art Museum, Muncie, IN, 1996-2005.
Ex E.K. collection, Canton, Michigan, acquired from Royal-Athena Galleries in 1987.
1st Century BC/AD
H. 6 5/8 in. (16.8 cm.)
educational use only
Gerhard Adole Janench 'Steel Worker', The Grohmann Museum roof top sculptures, 'Man at Work' collection, Milwaukee, Wisconsin
Esaias Boursse 'An Interior with a Family and Two Nurses before a Fire', ca. 1660, The Grohmann Museum, 'Man at Work' collection, Milwaukee, Wisconsin
Octavian August as Jupiter.
Marble. First quarter of the 1st century.
Saint-Petersburg, The State Hermitage Museum.
educational use only
Julius Caesar. April 44 BC. AR Denarius (17mm, 3.75 g). C. Cossutius Maridianus, moneyer. Laureate and veiled head of Caesar right; apex behind; lituus below chin / C COSSVTIUS / MARID-IANUS across field in form of cross; A-A-A-FF in four angles. Crawford 480/19; Alföldi Type XVII, 78; CRI 112; Sydenham 1069; RSC 8.
If you are interested in Julio Claudian Iconography and portrait study you may enjoy these two links:
Julio Claudian Iconographic Association- Joe Geranio- Administrator at groups.yahoo.com/group/julioclaudian/
The Portraiture of Caligula- Joe Geranio- Administrator- at
Both are non-profit sites and for educational use only.
Augustus. 27 BC-AD 14. AR Denarius (3.60 g, 6h). Spanish mint (Colonia Patricia?). Struck 17-16 BC. Bare head right / Triumphal arch on viaduct, surmounted by Augustus, driving quadriga of horses right; Victory standing behind Augustus, crowning him. RIC I 144; RSC 233; BMCRE 433 = BMCRR Rome 4463; BN 1257-1259.
If you are interested in Julio Claudian Iconography and portrait study you may enjoy these two links:
Julio Claudian Iconographic Association- Joe Geranio- Administrator at groups.yahoo.com/group/julioclaudian/
The Portraiture of Caligula- Joe Geranio- Administrator- at
Both are non-profit sites and for educational use only.
Augustus. 27 BC-AD 14. AV Aureus (8.04 g, 12h). Pergamum mint. Struck 19 BC. AVGVSTVS, bare head right / ARMENIA above, CAPTA in exergue, Victory, draped, wings spread, kneeling right on the back of a bull, recumbent on ground right, grasping the bull’s head and turning its horns. RIC I 514; Calicó 160 (this coin illustrated); BMCRE 671 = BMCRR East 308; BN 977-8; Biaggi 82 (this coin).
Colossal statue of Tiberius as Jupiter.
Marble. 41—54 A.D.
Inv. 1511.
Rome, Vatican Museums, Chiaramonti Museum, XXI.3.
educational use only
head right / Nero standing facing, togate and radiate, holding Victory and laurel branch. RIC I 47; RSC 45. VF, toned. Scarce.
The reverse depicts the Colossus, a 120 foot tall bronze statue of Nero as Sol that was created by Zenodorus for the vestibule of the Domus Aurea, or Golden House, the massive palace constructed by Nero after the fire of 64 AD. The statue was destroyed after Nero's downfall in 68, but its memory was retained in the popular name of the amphitheater constructed by the Flavians at the same site-the Colosseum.
Augustus, with Tiberius as Caesar. 27 BC-AD 14. AV Aureus (7.93 g, 5h). Lugdunum (Lyon) mint. Struck AD 13-14. CAESAR AVGVSTVS DIVI F PATER PATRIAE, laureate head right / TI CAESAR in exergue, AVG F TR POT XV • above, Tiberius, laureate, standing right in triumphal quadriga, holding eagle-tipped scepter in left hand and laurel branch in right. RIC I 221; Lyon 89; Calicó 294; BMCRE 511; BN 1685-6.
Hermann Kern 'Blacksmith I', 1905, The Grohmann Museum, 'Man at Work' collection, Milwaukee, Wisconsin
English: Eros points out to Helen (on the right) Paris (on the left) dressed in Oriental fashion. Fresco, late Augustan period. From a cubiculum of the House of Jason (IX, 5, 18) in Pompeii. Stored in the Museo Nazionale Archeologico of Naples.
Français : Éros montre à Hélène (à droite) Pâris (à gauche) habillé à la mode orientale. Fresque sur plâtre, fin de la période augustéenne. Provenance : cubiculum de la Maison de Jason (IX, 5, 18) à Pompéi. Conservé au Musée national archéologique de Naples.
Date 2006(2006)
Source own work, from the Iliade exhibition at the Colosseum, September 2006–February 2007
Author Jastrow
Permission
(Reusing this file) Public Domain
Julius Caesar. 42 BC. AR Denarius (19mm, 3.94 g, 5h). Posthumous issue. Rome mint; L. Mussidius Longus, moneyer. Laureate head right / Rudder, cornucopia on globe, winged caduceus, and flamen’s cap. Crawford 494/39a; CRI 116; Sydenham 1096a; RSC 29.
www.mart.trento.it/antonellodamessina
Il Mart di Rovereto propone un’indagine articolata e uno sguardo originale sulla figura del grande pittore del Quattrocento e sul suo tempo, attraverso lo studio degli intrecci storico-artistici e delle controversie ancora aperte, presentati in questa sede come punti di forza attraverso i quali approfondire nuovi percorsi di interpretazione critica.
Il progetto espositivo, a cura di Ferdinando Bologna e Federico De Melis, ha l’ambizione di ricostruire l’ampia scena storica e geografica dalla quale emerge l’eccezionale individualità di Antonello: un pittore che, a metà del Quattrocento, si fa interprete di un fermento creativo mediterraneo ed europeo incentrato sull’incontro-scontro tra la civiltà fiamminga e quella italiana.
Photo by Fernando Guerra
Inscripción de Lucio Minicio Natal y de su hijo del mismo nombre.
Fragmento.
Museu d´Arqueologia de Catalunya.
Barcelona.
Hispania Epigraphica: www.eda-bea.es/pub/record_card_2.php?refpage=%2Fpub%2Fsea...
Epigraphik-Datenbank: edh-www.adw.uni-heidelberg.de/offen/suchen2.html?hdnr=030769
Más información: es.wikipedia.org/wiki/Lucio_Minicio_Natal